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<h2 class='date-header'><span>Monday, July 01, 2019</span></h2>

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<br />
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<b style="mso-bidi-font-weight: normal;"><span style="font-size: 24.0pt; line-height: 115%;"><span style="font-family: &quot;arial&quot; , &quot;helvetica&quot; , sans-serif;">Bob Dylan&#8217;s Eyes<o:p></o:p></span></span></b></div>
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<b style="mso-bidi-font-weight: normal;"><span style="font-size: 24.0pt; line-height: 115%;"><o:p><span style="font-family: &quot;arial&quot; , &quot;helvetica&quot; , sans-serif;"><br /></span></o:p></span></b></div>
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<span style="font-size: 12.0pt; line-height: 200%;"><span style="font-family: &quot;arial&quot; , &quot;helvetica&quot; , sans-serif;">The films by or about Bob Dylan are every bit as strange,
unique, intimate &amp; evasive, as he is and Martin <span style="color: black; mso-themecolor: text1;">Scorsese&#8217;s <i style="mso-bidi-font-style: normal;"><a href="https://www.imdb.com/title/tt9577852/?ref_=nv_sr_1?ref_=nv_sr_1"><span style="color: black; mso-themecolor: text1;">Rolling Thunder Review: A Bob Dylan
Story</span></a>, </i>streaming now on Netflix,<i style="mso-bidi-font-style: normal;"> </i>is no </span>exception, blending documentary footage Dylan had
taken during the famous 1974-6 tour with more than a few fictional add-ons from
the likes of Sharon Stone, Kipper Kid Martin von Haselberg, and studio exec
(just not <i style="mso-bidi-font-style: normal;">that </i>studio nor <i style="mso-bidi-font-style: normal;">that </i>exec) Jim Gianapolus. But as
somebody who has been listening to, close-reading and watching the troubadour of
Hibbing for at least 57 years, the real stars of this paradocumentary are Bob Dylan&#8217;s
eyes. They are luminous, blue and often (in the faux Noh white paint that turns
up pretty much everywhere on Dylan, violinist Scarlet Rivera, and even for a
bit Joan Baez, during the tour) green.<a href="file:///C:/Users/rsillima/Documents/Crit/Blog/2019/Bob%20Dylan.docx#_edn1" name="_ednref1" style="mso-endnote-id: edn1;" title=""><span class="MsoEndnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoEndnoteReference"><span style="font-size: 12pt; line-height: 115%;">[i]</span></span><!--[endif]--></span></span></a>
Most importantly, they are searching, making contact, commenting on the action
we see and the inner workings behind the mask that are not given to us during
the two-hour, twenty minutes of the film.<o:p></o:p></span></span></div>
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<span style="font-size: 12.0pt; line-height: 200%;"><span style="font-family: &quot;arial&quot; , &quot;helvetica&quot; , sans-serif;">In 1974, Bob Dylan had largely been off the road for the previous
eight years following a motorcycle accident before returning to do a series of
stadium and arena-sized shows with The Band, the legendary backup quintet once
known as Ronnie Hawkins&#8217; Hawks. During the interim, Dylan and the Band<span style="mso-spacerun: yes;">&nbsp; </span>had<span style="mso-spacerun: yes;">&nbsp;
</span>been down in the basement making some glorious music, the group had
become nearly as famous as their front man, and the stadium shows reflected
this with alternating sets. It was a format that had become standard in the
post-Woodstock era, one that lives on today all over the globe, from Coachella
to K-Pop<a href="file:///C:/Users/rsillima/Documents/Crit/Blog/2019/Bob%20Dylan.docx#_edn2" name="_ednref2" style="mso-endnote-id: edn2;" title=""><span class="MsoEndnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoEndnoteReference"><span style="font-size: 12pt; line-height: 115%;">[ii]</span></span><!--[endif]--></span></span></a>.
But it is also the form that drove the Beatles into retirement from live
performance in 1967 and its fundamental inhumanness is its basic truth. <i style="mso-bidi-font-style: normal;">Rolling Thunder Review </i>repeatedly
returns to the fact that the smaller venues Dylan chose for the three-year
traveling carnival he had created to succeed the gigs with the band ensured
that it would never succeed financially. <o:p></o:p></span></span></div>
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<span style="font-size: 12.0pt; line-height: 200%;"><span style="font-family: &quot;arial&quot; , &quot;helvetica&quot; , sans-serif;">But touring is an essential economic truth in the music
business, where record companies were sucking up vast portions of any performer&#8217;s
earnings long before the rise of the net and the cloud put control of the
product into serious doubt. After a five-year touring career in the early 1960s
and a six-month return before screaming masses of adoring ants, Dylan was
searching for something different. Rolling Thunder was the result.<o:p></o:p></span></span></div>
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<span style="font-size: 12.0pt; line-height: 200%;"><span style="font-family: &quot;arial&quot; , &quot;helvetica&quot; , sans-serif;">With the stadium shows, Dylan had begun rolling out his new strategy
of reworking some of his standards, often quite dramatically, and the Rolling
Thunder performances show Dylan&#8217;s passion for these new versions of what had already
become familiar classics as well as more recent fare from the records released
during the eight years away from touring. But what is really most notable are
Dylan&#8217;s facial expressions, his directness with the audience, eyes rolling when
Baez transposes a phrase, eyebrows arching, registering emotion. It&#8217;s not just
that Dylan is having fun, although how often<span style="mso-spacerun: yes;">&nbsp;
</span>have you seen him acknowledge <i style="mso-bidi-font-style: normal;">that,
</i>but that he&#8217;s communicating and collaborating with his expressions in ways
I had not seen during his folk and earlier rock periods and <i style="mso-bidi-font-style: normal;">never </i>in the course of his Never-Ending
Tour that has gone on now for over 31 years.<a href="file:///C:/Users/rsillima/Documents/Crit/Blog/2019/Bob%20Dylan.docx#_edn3" name="_ednref3" style="mso-endnote-id: edn3;" title=""><span class="MsoEndnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoEndnoteReference"><span style="font-size: 12pt; line-height: 115%;">[iii]</span></span><!--[endif]--></span></span></a>
Like, say, Miles Davis (a performer whom at times reminds me of Dylan in his
obsessional focus on the piece at hand), who seldom if ever interacted with
audiences, Dylan often feels onstage is if he were alone with his band. Not so
in these performances. <o:p></o:p></span></span></div>
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<span style="font-size: 12.0pt; line-height: 200%;"><span style="font-family: &quot;arial&quot; , &quot;helvetica&quot; , sans-serif;">Which is what gives these shows &amp; this film an intensity
Dylan seldom approaches elsewhere. <o:p></o:p></span></span></div>
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<span style="font-size: 12.0pt; line-height: 200%;"><span style="font-family: &quot;arial&quot; , &quot;helvetica&quot; , sans-serif;">Rolling Thunder was also Dylan&#8217;s attempt to create an
alternative to the isolating realities of fame and travel that can bedevil musicians.
Anyone who has seen Chuck Berry or Bo Diddley arriving for a concert with some
backup band he has never met, let alone with whom he has practiced, or heard
the exhaustion in the voice of a solo artist like Eric Andersen (who has a bit
role in this film), or who can count the number of musicians who have died on
the road, will sympathize. Dylan&#8217;s idea was to put together a small community
of first-rate artists and take them all along for the ride. While the film
returns repeatedly to the figure of the carnival, it&#8217;s really the pilgrimages
of, say, Chaucer&#8217;s <i style="mso-bidi-font-style: normal;">Canterbury Tales </i>that
echo most loudly here. The film&#8217;s second billing goes to Allen Ginsberg,
labeled in the credits as (Dylan&#8217;s phrase) the Oracle of Delphi, who begins the
tour as a central obsession for Dylan (&#8220;absolutely not a father figure&#8221; Bob
insists as Ginsberg leads him to the grave of Jack Kerouac, footage everyone
has seen before but given new poignancy by the context offered here ) but
concludes it sharing roadie duties with Peter Orlovsky. Others in the mix
include Patti Smith, Baez, Ramblin&#8217; Jack Elliot, Roger McGuinn and Joni
Mitchell. Oddly missing from the interviews are most of the musicians who back
Dylan up, particularly Bobby Neuwirth, Dylan&#8217;s close friend who served as the
functional producer of much that ensued musically on the tour and who proves a reasonable
successor to the great lead guitarists Dylan has had going back to the late
Mike Bloomfield. <o:p></o:p></span></span></div>
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<br /></div>
<div class="MsoNormal" style="line-height: 200%;">
<span style="font-size: 12.0pt; line-height: 200%;"><span style="font-family: &quot;arial&quot; , &quot;helvetica&quot; , sans-serif;">If the tour was, as everyone insists &#8211; from Gianapolus as
producer to the jowly Dylan of just last year &#8211; a failure, it wasn&#8217;t
financially<a href="file:///C:/Users/rsillima/Documents/Crit/Blog/2019/Bob%20Dylan.docx#_edn4" name="_ednref4" style="mso-endnote-id: edn4;" title=""><span class="MsoEndnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoEndnoteReference"><span style="font-size: 12pt; line-height: 115%;">[iv]</span></span><!--[endif]--></span></span></a>
so much as socially. The dynamics of the road are relentless &#8211; Baez, Dylan&#8217;s
ex-lover from the sixties quits the tour &amp; her absence as a grounding is
noticeable<a href="file:///C:/Users/rsillima/Documents/Crit/Blog/2019/Bob%20Dylan.docx#_edn5" name="_ednref5" style="mso-endnote-id: edn5;" title=""><span class="MsoEndnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoEndnoteReference"><span style="font-size: 12pt; line-height: 115%;">[v]</span></span><!--[endif]--></span></span></a>.
What does it mean to have a roving commune in a world so hungry for roots? You
can run away to join the circus, but the circus itself turns out to be a very
circumscribed home. The commune movement, from Ken Kesey&#8217;s Merry Pranksters
forward, was as much a seventies&#8217; phenomenon as a holdover from the sixties,
and as the sometimes incoherent pacing of appearances from Richard Nixon, Gerald
Ford &amp; Jimmy Carter<a href="file:///C:/Users/rsillima/Documents/Crit/Blog/2019/Bob%20Dylan.docx#_edn6" name="_ednref6" style="mso-endnote-id: edn6;" title=""><span class="MsoEndnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoEndnoteReference"><span style="font-size: 12pt; line-height: 115%;">[vi]</span></span><!--[endif]--></span></span></a>,
reflects, the failure of the revolution of &#8217;68 left everyone not<i style="mso-bidi-font-style: normal;"> </i>already bunkered down in the
counterculture without many alternatives. The power imbalance between Dylan and
everyone else is something nobody can get past &#8211; even Baez, here as elsewhere a
snarky skeptic unafraid of being incorrect, concedes to it. Bob is Bob, but
unlike Charlie, he doesn&#8217;t want a harem to kill for him, or &#8211; a la Baker-roshi &#8211;
to ensconce him in wealth and pussy. Dylan profoundly distrusts power, but his
followers are like iron filings to his magnetic presence. It&#8217;s the Gordian knot
he will never cut. <o:p></o:p></span></span></div>
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<br /></div>
<div class="MsoNormal" style="line-height: 200%;">
<span style="font-size: 12.0pt; line-height: 200%;"><span style="font-family: &quot;arial&quot; , &quot;helvetica&quot; , sans-serif;">Much, too much in fact, is made of the question of masks as
Dylan&#8217;s only plausible defense to this conundrum, and when you hear Hurricane
Carter&#8217;s snappy, upbeat chatter about how Dylan is still searching regardless
of his claim to have already found some inner peace, you remember that Rolling
Thunder was Dylan&#8217;s last stop before the Bible<a href="file:///C:/Users/rsillima/Documents/Crit/Blog/2019/Bob%20Dylan.docx#_edn7" name="_ednref7" style="mso-endnote-id: edn7;" title=""><span class="MsoEndnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoEndnoteReference"><span style="font-size: 12pt; line-height: 115%;">[vii]</span></span><!--[endif]--></span></span></a>.
In one sense, this is where Scorsese &#8211; Dylan&#8217;s friend since at least <i style="mso-bidi-font-style: normal;">The Last Waltz </i>&#8211; fails as a filmmaker. A
director with some critical distance might have looked with a more jaundiced
eye at the wall Dylan hits at the end of this tour, aesthetically, spiritually,
intellectually. Good intentions will only get you so far. There&#8217;s a reason even
Ringling Bros. gave it up in 2017, and why so many other performers have
retreated to Nashville, Branson or Vegas, why the Blue Man Group or Cirque de
Soleil don&#8217;t do the road. At 78, Dylan still performs at 100-plus venues per
year, compared with the Stones who do 30 once every five years, and McCartney
something comparable to that. Dylan is driven, albeit not by fame, fortune nor
glory &#8211; his fumbling of the Nobel Prize should tell us that. In a sense, he&#8217;s
like the secret cylons in <i style="mso-bidi-font-style: normal;">Battlestar
Gallactica, </i>who know who they are by the song they can&#8217;t get out of their
head, written as it was by Bob Dylan. <o:p></o:p></span></span></div>
<div class="MsoNormal" style="line-height: 200%;">
<br /></div>
<div style="mso-element: endnote-list;">
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</span><br />
<hr align="left" size="1" width="33%" />
<!--[endif]-->

<br />
<div id="edn1" style="mso-element: endnote;">
<div class="MsoEndnoteText">
<span style="font-family: &quot;arial&quot; , &quot;helvetica&quot; , sans-serif;"><a href="file:///C:/Users/rsillima/Documents/Crit/Blog/2019/Bob%20Dylan.docx#_ednref1" name="_edn1" style="mso-endnote-id: edn1;" title=""><span class="MsoEndnoteReference"><sub><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoEndnoteReference"><sub><span style="font-size: 10pt; line-height: 115%;">[i]</span></sub></span><!--[endif]--></span></sub></span></a><sub>
It probably says hazel on his driver&#8217;s ID. <br style="mso-special-character: line-break;" />
<!--[if !supportLineBreakNewLine]--><br style="mso-special-character: line-break;" />
<!--[endif]--><o:p></o:p></sub></span></div>
</div>
<div id="edn2" style="mso-element: endnote;">
<div class="MsoEndnoteText">
<span style="font-family: &quot;arial&quot; , &quot;helvetica&quot; , sans-serif;"><a href="file:///C:/Users/rsillima/Documents/Crit/Blog/2019/Bob%20Dylan.docx#_ednref2" name="_edn2" style="mso-endnote-id: edn2;" title=""><span class="MsoEndnoteReference"><sub><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoEndnoteReference"><sub><span style="font-size: 10pt; line-height: 115%;">[ii]</span></sub></span><!--[endif]--></span></sub></span></a><sub>
Incommensurable, I know.<o:p></o:p></sub></span></div>
<div class="MsoEndnoteText">
<br /></div>
</div>
<div id="edn3" style="mso-element: endnote;">
<div class="MsoEndnoteText">
<span style="font-family: &quot;arial&quot; , &quot;helvetica&quot; , sans-serif;"><a href="file:///C:/Users/rsillima/Documents/Crit/Blog/2019/Bob%20Dylan.docx#_ednref3" name="_edn3" style="mso-endnote-id: edn3;" title=""><span class="MsoEndnoteReference"><sub><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoEndnoteReference"><sub><span style="font-size: 10pt; line-height: 115%;">[iii]</span></sub></span><!--[endif]--></span></sub></span></a><sub>
The credit roll lists every show from 1974 through 2018 and we are talking <i style="mso-bidi-font-style: normal;">thousands. <o:p></o:p></i></sub></span></div>
<div class="MsoEndnoteText">
<br /></div>
</div>
<div id="edn4" style="mso-element: endnote;">
<div class="MsoEndnoteText">
<span style="font-family: &quot;arial&quot; , &quot;helvetica&quot; , sans-serif;"><a href="file:///C:/Users/rsillima/Documents/Crit/Blog/2019/Bob%20Dylan.docx#_ednref4" name="_edn4" style="mso-endnote-id: edn4;" title=""><span class="MsoEndnoteReference"><sub><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoEndnoteReference"><sub><span style="font-size: 10pt; line-height: 115%;">[iv]</span></sub></span><!--[endif]--></span></sub></span></a><sub>
Billionaire Sir Paul McCartney and maybe the Gershwins must be the only other people
to come close to Dylan in revenue from covers of their music.<o:p></o:p></sub></span></div>
<div class="MsoEndnoteText">
<br /></div>
</div>
<div id="edn5" style="mso-element: endnote;">
<div class="MsoEndnoteText">
<span style="font-family: &quot;arial&quot; , &quot;helvetica&quot; , sans-serif;"><a href="file:///C:/Users/rsillima/Documents/Crit/Blog/2019/Bob%20Dylan.docx#_ednref5" name="_edn5" style="mso-endnote-id: edn5;" title=""><span class="MsoEndnoteReference"><sub><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoEndnoteReference"><sub><span style="font-size: 10pt; line-height: 115%;">[v]</span></sub></span><!--[endif]--></span></sub></span></a><sub>
Their discussion of their marriages, Dylan to the &#8220;woman I love&#8221; in Sara (not
always present on the tour and not visible here), Baez to Stanford anti-war
activist David Harris (&#8220;the man I thought I loved&#8221;), is a level of intimacy
nowhere available elsewhere in any film of Dylan I&#8217;ve ever seen. <o:p></o:p></sub></span></div>
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<br /></div>
</div>
<div id="edn6" style="mso-element: endnote;">
<div class="MsoEndnoteText">
<span style="font-family: &quot;arial&quot; , &quot;helvetica&quot; , sans-serif;"><a href="file:///C:/Users/rsillima/Documents/Crit/Blog/2019/Bob%20Dylan.docx#_ednref6" name="_edn6" style="mso-endnote-id: edn6;" title=""><span class="MsoEndnoteReference"><sub><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoEndnoteReference"><sub><span style="font-size: 10pt; line-height: 115%;">[vi]</span></sub></span><!--[endif]--></span></sub></span></a><sub>
How many of today&#8217;s audiences will recognize a dazed Lynnette &#8220;Squeaky&#8221; Fromme
being arrested after her attempt to shoot Ford at the Sacramento state capitol,
or even know that Ford was the target of two assassination attempts in one
month? If Scorsese had been making a film about the period, rather than the
tour, he&#8217;d have noted the arrest of Patty Hearst and her SLA compatriots that
same month, prompting one of the network news broadcasts to project its
coverage over the background of the Beach Boys&#8217; <i style="mso-bidi-font-style: normal;">California Girls. <o:p></o:p></i></sub></span></div>
<div class="MsoEndnoteText">
<br /></div>
</div>
<div id="edn7" style="mso-element: endnote;">
<div class="MsoEndnoteText">
<span style="font-family: &quot;arial&quot; , &quot;helvetica&quot; , sans-serif;"><a href="file:///C:/Users/rsillima/Documents/Crit/Blog/2019/Bob%20Dylan.docx#_ednref7" name="_edn7" style="mso-endnote-id: edn7;" title=""><span class="MsoEndnoteReference"><sub><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoEndnoteReference"><sub><span style="font-size: 10pt; line-height: 115%;">[vii]</span></sub></span><!--[endif]--></span></sub></span></a><sub>
Where <i style="mso-bidi-font-style: normal;">is </i>T-Bone Burnett whose
presence on the tour is sometimes credited with Dylan&#8217;s religious conversion?
Or David Bromberg? Didn&#8217;t he get together with his wife, artist and Santeria practitioner
Nancy Josephson, on the tour? So many great musicians Scorsese could have
talked to and did not. Indeed, there would seem to be a documentary waiting to
be made of Scarlet Rivera&#8217;s presence throughout. Having been &#8220;discovered&#8221; by
Dylan walking down the street in New York &#8211; an event as improbable as Trungpa&#8217;s
famous cab ride with Ginsberg &#8211; everyone seems terrified of her.<span style="mso-spacerun: yes;">&nbsp; </span>Next to Dylan, Ginsberg &amp; maybe Baez, she&#8217;s
the most visible person here, still making use of the musical career that
apparently fell from the sky. <o:p></o:p></sub></span></div>
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<br />
<div class="MsoNormal" style="line-height: 200%;">
<span style="color: #0d0d0d; font-size: large; mso-style-textfill-fill-alpha: 100.0%; mso-style-textfill-fill-color: #0D0D0D; mso-style-textfill-fill-colortransforms: &quot;lumm=95000 lumo=5000&quot;; mso-style-textfill-fill-themecolor: text1; mso-themecolor: text1; mso-themetint: 242;">The Oscars as
always are a mixed bag, often better for the <a href="https://www.hollywoodreporter.com/news/oscars-pose-star-billy-porter-wears-christian-siriano-tuxedo-gown-1189684"><span style="color: #0d0d0d; mso-style-textfill-fill-alpha: 100.0%; mso-style-textfill-fill-color: #0D0D0D; mso-style-textfill-fill-colortransforms: &quot;lumm=95000 lumo=5000&quot;; mso-style-textfill-fill-themecolor: text1; mso-themecolor: text1; mso-themetint: 242;">couture</span></a>
than for the films that grab the gold. <i style="mso-bidi-font-style: normal;">The
Green Book </i>was not a dreadful film and it may well pass the ten-year test,
making the cable movie channel rounds a decade from now. But the <i style="mso-bidi-font-style: normal;">Driving Mr Shirley </i>plotline,
cringe-worthy ending around the Christmas tree, and Viggo Mortenson&#8217;s noble (failed)
attempt to make Italians look like Vikings (or vice versa) do not a great
picture make. It certainly wasn&#8217;t as original or well done as <i style="mso-bidi-font-style: normal;">Black Panther, The Favourite </i>or <i style="mso-bidi-font-style: normal;">Roma, </i>or for that matter<i style="mso-bidi-font-style: normal;"> Cold War, If Beale Street Could Talk, </i>or
<i style="mso-bidi-font-style: normal;">Leave No Trace, </i>none of the last
three even getting a best pic nomination.<i style="mso-bidi-font-style: normal;">
</i>Which films will still matter in, say, 20 years? That test probably brings
the list of worthy 2018 films down to just three: <i style="mso-bidi-font-style: normal;">Roma, Cold War </i>and <i style="mso-bidi-font-style: normal;">The Favourite.
</i>A 50-year test might include <i style="mso-bidi-font-style: normal;"><a href="https://www.imdb.com/title/tt6543652/"><span style="color: #0d0d0d; mso-style-textfill-fill-alpha: 100.0%; mso-style-textfill-fill-color: #0D0D0D; mso-style-textfill-fill-colortransforms: &quot;lumm=95000 lumo=5000&quot;; mso-style-textfill-fill-themecolor: text1; mso-themecolor: text1; mso-themetint: 242;">Cold War</span></a>
</i>alongside <i style="mso-bidi-font-style: normal;">Roma, </i>but only the
latter is likely still to be considered a great film a century from now. <o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: 200%;">
<span style="font-size: large;"><br /></span></div>
<div class="MsoNormal" style="line-height: 200%;">
<span style="font-size: large;"><span style="color: #0d0d0d; mso-style-textfill-fill-alpha: 100.0%; mso-style-textfill-fill-color: #0D0D0D; mso-style-textfill-fill-colortransforms: &quot;lumm=95000 lumo=5000&quot;; mso-style-textfill-fill-themecolor: text1; mso-themecolor: text1; mso-themetint: 242;">It will be
interesting to see who, if anyone, pairs <i style="mso-bidi-font-style: normal;">Roma
</i>up with <i style="mso-bidi-font-style: normal;"><a href="https://www.youtube.com/watch?v=ZQ6P8yTXz20"><span style="color: #0d0d0d; mso-style-textfill-fill-alpha: 100.0%; mso-style-textfill-fill-color: #0D0D0D; mso-style-textfill-fill-colortransforms: &quot;lumm=95000 lumo=5000&quot;; mso-style-textfill-fill-themecolor: text1; mso-themecolor: text1; mso-themetint: 242;">Black Girl</span></a>,
</i>Ousmane Semb</span><span style="color: #0d0d0d; mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin; mso-style-textfill-fill-alpha: 100.0%; mso-style-textfill-fill-color: #0D0D0D; mso-style-textfill-fill-colortransforms: &quot;lumm=95000 lumo=5000&quot;; mso-style-textfill-fill-themecolor: text1; mso-themecolor: text1; mso-themetint: 242;">è</span><span style="color: #0d0d0d; mso-style-textfill-fill-alpha: 100.0%; mso-style-textfill-fill-color: #0D0D0D; mso-style-textfill-fill-colortransforms: &quot;lumm=95000 lumo=5000&quot;; mso-style-textfill-fill-themecolor: text1; mso-themecolor: text1; mso-themetint: 242;">ne&#8217;s 1966
debut about a young woman who moves from Dakar to Antibes to work as a domestic
servant. Today, <i style="mso-bidi-font-style: normal;">Black Girl </i>often occupies
the slot of &#8220;founding film&#8221; for African cinema, a role in US cultural history
that used to belong to the racist Klan epic, <i style="mso-bidi-font-style: normal;">Birth of a Nation<a href="file:///C:/Users/rsillima/Documents/Crit/Blog/2019/The%20Oscars%20as%20always%20are%20a%20mixed%20bag.docx#_edn1" name="_ednref1" style="mso-endnote-id: edn1;" title=""><span class="MsoEndnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoEndnoteReference"><b style="mso-bidi-font-weight: normal;"><span style="color: #0d0d0d; font-family: &quot;calibri&quot; , &quot;sans-serif&quot;; line-height: 115%;">[i]</span></b></span><!--[endif]--></span></span></a>. Black
Girl </i>and <i style="mso-bidi-font-style: normal;">Roma </i>would make a great
double-bill, but I suspect the latter will look more like an homage to Italian
neo-realism (turning the title into a subtle, possibly delicious pun). But <i style="mso-bidi-font-style: normal;">Black Girl </i>isn&#8217;t even Semb</span><span style="color: #0d0d0d; mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin; mso-style-textfill-fill-alpha: 100.0%; mso-style-textfill-fill-color: #0D0D0D; mso-style-textfill-fill-colortransforms: &quot;lumm=95000 lumo=5000&quot;; mso-style-textfill-fill-themecolor: text1; mso-themecolor: text1; mso-themetint: 242;">è</span><span style="color: #0d0d0d; mso-style-textfill-fill-alpha: 100.0%; mso-style-textfill-fill-color: #0D0D0D; mso-style-textfill-fill-colortransforms: &quot;lumm=95000 lumo=5000&quot;; mso-style-textfill-fill-themecolor: text1; mso-themecolor: text1; mso-themetint: 242;">ne&#8217;s
second or third best film. <o:p></o:p></span></span></div>
<div class="MsoNormal" style="line-height: 200%;">
<span style="font-size: large;"><br /></span></div>
<div class="MsoNormal" style="line-height: 200%;">
<span style="color: #0d0d0d; font-size: large; mso-style-textfill-fill-alpha: 100.0%; mso-style-textfill-fill-color: #0D0D0D; mso-style-textfill-fill-colortransforms: &quot;lumm=95000 lumo=5000&quot;; mso-style-textfill-fill-themecolor: text1; mso-themecolor: text1; mso-themetint: 242;">Prizes are
always crazy and yet they have real-world consequences. What makes the Oscars
is the opportunity to look at the stars vamping in great outfits, and isn&#8217;t
that what made Busby Berkeley a hit 80 years ago? The Pulitzer gets coverage
from every news organization because it&#8217;s <i style="mso-bidi-font-style: normal;">about</i>
<i style="mso-bidi-font-style: normal;">them<a href="file:///C:/Users/rsillima/Documents/Crit/Blog/2019/The%20Oscars%20as%20always%20are%20a%20mixed%20bag.docx#_edn2" name="_ednref2" style="mso-endnote-id: edn2;" title=""><span class="MsoEndnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoEndnoteReference"><b style="mso-bidi-font-weight: normal;"><span style="color: #0d0d0d; font-family: &quot;calibri&quot; , &quot;sans-serif&quot;; line-height: 115%;">[ii]</span></b></span><!--[endif]--></span></span></a>, </i>but
the creative awards have been random at best, great one year, head-scratching
the next. I haven&#8217;t met a young writer who could tell me the last half-dozen
winners of the Yale Younger Poets award in decades but when I was in college
pretty much every MFA candidate could recite them without blinking. The
MacArthur may bring fortune, but seldom fame &#8211; and generally has done a better
job representing art forms other than literature. <span style="mso-spacerun: yes;">&nbsp;</span>The Levinson Prize, the one literary award in
the US that pre-dates the Pulitzer, is all but anonymous.<a href="file:///C:/Users/rsillima/Documents/Crit/Blog/2019/The%20Oscars%20as%20always%20are%20a%20mixed%20bag.docx#_edn3" name="_ednref3" style="mso-endnote-id: edn3;" title=""><span class="MsoEndnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoEndnoteReference"><span style="color: #0d0d0d; font-family: &quot;calibri&quot; , &quot;sans-serif&quot;; line-height: 115%;">[iii]</span></span><!--[endif]--></span></span></a>
Having given awards to Pearl Buck and William Golding, the currently-suspended
Nobel Prize in literature is hardly in any position to serve as a model of the
process. When Czeslaw Milosz won the prize in 1980, it&#8217;s unlikely that many poets
in the Bay Area &#8211; with a few very notable exceptions &#8211; considered him among the
five best poets in Berkeley. For his accomplishment, the University of
California did give him its most coveted award, a parking spot in his own name.
<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: 200%;">
<span style="font-size: large;"><br /></span></div>
<div class="MsoNormal" style="line-height: 200%;">
<span style="color: #0d0d0d; font-size: large; mso-style-textfill-fill-alpha: 100.0%; mso-style-textfill-fill-color: #0D0D0D; mso-style-textfill-fill-colortransforms: &quot;lumm=95000 lumo=5000&quot;; mso-style-textfill-fill-themecolor: text1; mso-themecolor: text1; mso-themetint: 242;">What is the
purpose of such competition in the arts? The oft-cited purpose of awarding
excellence would come across as more real if in fact excellence even appeared
to remotely be a criterion. Calling attention to the medium itself seems a more
likely, and more justifiable, goal. The Oscars are an ad for the movies just as
the Pulitzer is an ad for poetry. Quite a few other awards exist to argue that
different configurations of judges might be at least as well-qualified to
identify excellence in a given field. And prizes like the American Book Awards
and Lambda prizes do a lot of good simply pointing out that there is more to
literature than cisgender white males.<a href="file:///C:/Users/rsillima/Documents/Crit/Blog/2019/The%20Oscars%20as%20always%20are%20a%20mixed%20bag.docx#_edn4" name="_ednref4" style="mso-endnote-id: edn4;" title=""><span class="MsoEndnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoEndnoteReference"><span style="color: #0d0d0d; font-family: &quot;calibri&quot; , &quot;sans-serif&quot;; line-height: 115%;">[iv]</span></span><!--[endif]--></span></span></a>
<span style="mso-spacerun: yes;">&nbsp;</span><o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: 200%;">
<span style="font-size: large;"><br /></span></div>
<div class="MsoNormal" style="line-height: 200%;">
<span style="font-size: large;"><span style="color: #0d0d0d; mso-style-textfill-fill-alpha: 100.0%; mso-style-textfill-fill-color: #0D0D0D; mso-style-textfill-fill-colortransforms: &quot;lumm=95000 lumo=5000&quot;; mso-style-textfill-fill-themecolor: text1; mso-themecolor: text1; mso-themetint: 242;">But what is the
value in an ad for the medium? There appears to be some evidence that sales for
award-winning films get a tic upward after receiving a major prize. But a
secondary award, like best director or best foreign language film? Too bad for <i style="mso-bidi-font-style: normal;">Roma, </i>which will have to make do with
glowing reviews and great word-of-mouth, where a win might have triggered a
broad release in US theaters, still a good way to see a movie. <i style="mso-bidi-font-style: normal;">Cold War </i>continues to be a wonderful flic,
the greatest Jerzy Kozi</span><span style="color: #0d0d0d; mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin; mso-style-textfill-fill-alpha: 100.0%; mso-style-textfill-fill-color: #0D0D0D; mso-style-textfill-fill-colortransforms: &quot;lumm=95000 lumo=5000&quot;; mso-style-textfill-fill-themecolor: text1; mso-themecolor: text1; mso-themetint: 242;">ń</span></span><span style="color: #0d0d0d; mso-style-textfill-fill-alpha: 100.0%; mso-style-textfill-fill-color: #0D0D0D; mso-style-textfill-fill-colortransforms: &quot;lumm=95000 lumo=5000&quot;; mso-style-textfill-fill-themecolor: text1; mso-themecolor: text1; mso-themetint: 242;"><span style="font-size: large;">ski tale Truffaut ever filmed.<a href="file:///C:/Users/rsillima/Documents/Crit/Blog/2019/The%20Oscars%20as%20always%20are%20a%20mixed%20bag.docx#_edn5" name="_ednref5" style="mso-endnote-id: edn5;" title=""><span class="MsoEndnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoEndnoteReference"><span style="color: #0d0d0d; font-family: &quot;calibri&quot; , &quot;sans-serif&quot;; line-height: 115%;">[v]</span></span><!--[endif]--></span></span></a>
But mostly, it&#8217;s apt to remain a secret. </span><o:p></o:p></span></div>
<div style="mso-element: endnote-list;">
<!--[if !supportEndnotes]--><br clear="all" />
<hr align="left" size="1" width="33%" />
<!--[endif]-->

<br />
<div id="edn1" style="mso-element: endnote;">
<div class="MsoEndnoteText">
<a href="file:///C:/Users/rsillima/Documents/Crit/Blog/2019/The%20Oscars%20as%20always%20are%20a%20mixed%20bag.docx#_ednref1" name="_edn1" style="mso-endnote-id: edn1;" title=""><span class="MsoEndnoteReference"><span style="font-size: 8.0pt;"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoEndnoteReference"><span style="font-family: &quot;calibri&quot; , &quot;sans-serif&quot;; font-size: 8.0pt; line-height: 115%;">[i]</span></span><!--[endif]--></span></span></span></a><span style="font-size: 8.0pt;"> One could argue that this alone tells you all you need
to know about the history of colonialism in each place.<o:p></o:p></span></div>
<div class="MsoEndnoteText">
<br /></div>
</div>
<div id="edn2" style="mso-element: endnote;">
<div class="MsoEndnoteText">
<a href="file:///C:/Users/rsillima/Documents/Crit/Blog/2019/The%20Oscars%20as%20always%20are%20a%20mixed%20bag.docx#_ednref2" name="_edn2" style="mso-endnote-id: edn2;" title=""><span class="MsoEndnoteReference"><span style="font-size: 8.0pt;"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoEndnoteReference"><span style="font-family: &quot;calibri&quot; , &quot;sans-serif&quot;; font-size: 8.0pt; line-height: 115%;">[ii]</span></span><!--[endif]--></span></span></span></a><span style="font-size: 8.0pt;"> Which means that the end of print journalism, already
quite visible on the horizon, will render the Pulitzers moot, at least as
presently constituted. <o:p></o:p></span></div>
<div class="MsoEndnoteText">
<br /></div>
</div>
<div id="edn3" style="mso-element: endnote;">
<div class="MsoEndnoteText">
<a href="file:///C:/Users/rsillima/Documents/Crit/Blog/2019/The%20Oscars%20as%20always%20are%20a%20mixed%20bag.docx#_ednref3" name="_edn3" style="mso-endnote-id: edn3;" title=""><span class="MsoEndnoteReference"><span style="font-size: 8.0pt;"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoEndnoteReference"><span style="font-family: &quot;calibri&quot; , &quot;sans-serif&quot;; font-size: 8.0pt; line-height: 115%;">[iii]</span></span><!--[endif]--></span></span></span></a><span style="font-size: 8.0pt;"> Having won one, I know. <o:p></o:p></span></div>
<div class="MsoEndnoteText">
<br /></div>
</div>
<div id="edn4" style="mso-element: endnote;">
<div class="MsoEndnoteText">
<a href="file:///C:/Users/rsillima/Documents/Crit/Blog/2019/The%20Oscars%20as%20always%20are%20a%20mixed%20bag.docx#_ednref4" name="_edn4" style="mso-endnote-id: edn4;" title=""><span class="MsoEndnoteReference"><span style="font-size: 8.0pt;"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoEndnoteReference"><span style="font-family: &quot;calibri&quot; , &quot;sans-serif&quot;; font-size: 8.0pt; line-height: 115%;">[iv]</span></span><!--[endif]--></span></span></span></a><span style="font-size: 8.0pt;"> The Nobel gave awards to Selma Lagerl</span><span style="font-size: 8.0pt; mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;">öf
and Rabindranath Tagore within its first 15 years, and yet its long-term record
hasn&#8217;t been especially good, 100 prizes to men, just 14 to women, the majority
since 1990 Even within the last three decades, nearly twice as many men as
women have received the award. Prizes to writers in English outnumber any other
language by more than two to one. Of non-European languages, only Chinese and
Japanese have received more than one prize. Tagore was the first and last
Bengali writer to receive the award, and much of his writing was in English. <o:p></o:p></span></div>
<div class="MsoEndnoteText">
<br /></div>
</div>
<div id="edn5" style="mso-element: endnote;">
<div class="MsoEndnoteText">
<a href="file:///C:/Users/rsillima/Documents/Crit/Blog/2019/The%20Oscars%20as%20always%20are%20a%20mixed%20bag.docx#_ednref5" name="_edn5" style="mso-endnote-id: edn5;" title=""><span class="MsoEndnoteReference"><span style="font-size: 8.0pt;"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoEndnoteReference"><span style="font-family: &quot;calibri&quot; , &quot;sans-serif&quot;; font-size: 8.0pt; line-height: 115%;">[v]</span></span><!--[endif]--></span></span></span></a><span style="font-size: 8.0pt;"> Even though neither had anything to do with it. <o:p></o:p></span></div>
<div class="MsoEndnoteText">
<br /></div>
</div>
</div>
<br />
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<div class="separator" style="clear: both; text-align: center;">
<a href="https://3.bp.blogspot.com/-TR0Ehcsc_bQ/WSNz0Fm27NI/AAAAAAAAHVg/u6d8-ebCOn0b6Jv209L70C-qpL2xlg-agCLcB/s1600/Nellie%2Band%2BPaterson.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="426" src="https://writing.upenn.edu/epc/mirrors/ronsilliman.blogspot.com/images/3.bp.blogspot.com/-TR0Ehcsc_bQ/WSNz0Fm27NI/AAAAAAAAHVg/u6d8-ebCOn0b6Jv209L70C-qpL2xlg-agCLcB/s640/Nellie%252Band%252BPaterson.jpg" width="640" /></a></div>
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<span style="font-family: &quot;arial&quot; , &quot;helvetica&quot; , sans-serif;">Within the past year, there have been three major motion
pictures built around poets and poetry &#8211; Jim Jarmusch&#8217;s <i style="mso-bidi-font-style: normal;">Paterson, </i><span style="mso-spacerun: yes;">&nbsp;</span>Pablo Larrain&#8217;s <i style="mso-bidi-font-style: normal;">Neruda, </i>and Terence Davies&#8217; <i style="mso-bidi-font-style: normal;">A Quiet Passion, </i>a biopic of Emily
Dickinson played by Cynthia Nixon. Only in the first of these is the poetry &#8211;
penned by Ron Padgett but assigned in the film to a Paterson, NJ bus driver
likewise named Paterson &#8211; really what the film is about. In each, the question
of the writer&#8217;s relationships is central to the film&#8217;s scope and development,
and to some degree one could read these films as different studies in what
happens when a human being takes on this mysterious second skin as a writer of
verse.</span></div>
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<span style="font-family: &quot;arial&quot; , &quot;helvetica&quot; , sans-serif;">

</span><br />
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<span style="font-family: &quot;arial&quot; , &quot;helvetica&quot; , sans-serif;"><i style="mso-bidi-font-style: normal;">Paterson, </i>which is
about a fictional writer in the downscale industrial suburb of New York that
looks nostalgically to its poetic heritage (as well as to comic Lou Costello)
for a last, lingering sense of worth, is constructed around one of the sweetest
relationships in recent film, between Adam Driver&#8217;s quietly brooding Paterson,
a meditative-to-depressive soul who doesn&#8217;t say a lot, and his perpetually
optimistic starter-of-a-million-creative-projects girlfriend, Laura
(Goldshiftah Farahani), a gal who comes with her own color scheme. This may
well be Adam Driver&#8217;s best film performance, and you can see and sense him
writing as he overhears conversations in the course of daily life.&nbsp;</span></div>
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<span style="font-family: &quot;arial&quot; , &quot;helvetica&quot; , sans-serif;">

</span><br />
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<span style="font-family: &quot;arial&quot; , &quot;helvetica&quot; , sans-serif;">The relationship in <i style="mso-bidi-font-style: normal;">Neruda
</i>is less between the poet and his partner Delia del Carril (</span><span style="font-family: &quot;arial&quot; , &quot;helvetica&quot; , sans-serif;">Mercedes Morán) than between
Pablo and Óscar Peluchonneau, the Director General of Police Investigations charged
with bringing Neruda in during one of Chile&#8217;s periodic neo-fascist periods in
the 1940s. Played by Gael García Bernal as a noir cop &#8211; more a wannabe Bogart
than a Broderick Crawford &#8211; Peluchonneau becomes obsessed with his target, who
rouses opposition to the crackdown by refusing to escape the country,
preferring instead to visit the brothels that are portrayed here more as
nightclubs for intellectuals with half-naked ladies there for the fucking.
Pointedly, when Carril suggests getting pregnant as a means of defying the
regime, Neruda (who in &#8220;real life&#8221; had one son he didn&#8217;t see after his Dutch
first wife went back to Europe) heads straight to the brothel where everyone
interrupts what they&#8217;re doing to watch him read.&nbsp;</span></div>
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<span style="font-family: &quot;arial&quot; , &quot;helvetica&quot; , sans-serif;">

</span><br />
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<span style="font-family: &quot;arial&quot; , &quot;helvetica&quot; , sans-serif;"><i style="mso-bidi-font-style: normal;">A Quiet Passion </i>is
more disciplined in its treatment of its poet, but not a lot. The screen play with
its consciously stilted dialog presents the role of 19<sup>th</sup> century
bourgeois women as nearly as constrained as that of <span style="mso-spacerun: yes;">&nbsp;</span><i style="mso-bidi-font-style: normal;">The
Handmaid&#8217;s Tale</i>, which it suggests is very much the way Dickinson herself
wanted it. Gradually the poet reduces her contact with men to her brother
Austen, whose affair with Mabel Loomis Todd is treated entirely from the
perspective of Dickinson&#8217;s negative reaction. Notably absent is her most
important male relationship, with Thomas Wentworth Higginson, who is not
mentioned once. A viewer can be forgiven for not suspecting that Higginson and
Todd were the editors who first made Dickinson famous. In standard Hollywood cliché,
we see Dickinson writing with Nixon&#8217;s off-screen voice-over augmented by music
to signal its quality.&nbsp;</span></div>
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<span style="font-family: &quot;arial&quot; , &quot;helvetica&quot; , sans-serif;">

</span><br />
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<span style="font-family: &quot;arial&quot; , &quot;helvetica&quot; , sans-serif;">Were it not for Nixon&#8217;s superb performance playing a
prickly, brittle personality who is becoming just a little crazier by the year,
but who dies of Bright&#8217;s Disease before she can get to mad-woman-in-the-attic status,
there wouldn&#8217;t be much to see in <i style="mso-bidi-font-style: normal;">A Quiet
Passion. Neruda </i>is not García Bernal&#8217;s best work and there is not enough
focus on Luis Gnecco&#8217;s Neruda, period. But I could watch a nine-hour version of
Driver guiding his bus, going to the local tavern, straightening his mailbox,
sleeping beside Laura, penning patient little poems one word at a time. Oddly
enough, the fate of Driver&#8217;s poems is more of an issue in the Jarmusch film
than Dickinson&#8217;s in <i style="mso-bidi-font-style: normal;">Passion. </i>But
then, for Jarmusch, they&#8217;re real poems. And that makes all the difference.&nbsp;</span></div>
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<span style="font-family: &quot;arial&quot; , &quot;helvetica&quot; , sans-serif;">

</span><br />
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<span style="font-family: &quot;arial&quot; , &quot;helvetica&quot; , sans-serif;">In each case, the film&#8217;s tension is at least in part between
a figure and this other thing they are involved with beyond any relationship,
as if poetry were a code for any kind of interest in a serious pursuit outside
of the conjugal bed. Paterson could be making whirligigs for all it matters:
his interest in the poem doesn&#8217;t compete with his love for Laura any more than
her painting the shower curtains competes with hers. Neruda as played by Gnecco is self-important, far more readily a politician than a poet, but also an inspiration to the pop<span style="font-family: &quot;arial&quot; , &quot;helvetica&quot; , sans-serif;">ular </span>resistance. His
partner&#8217;s self-abnegation is an effect of a cruelty he&#8217;s not even conscious of.
But tellingly this is not a film about the poet and his partner so much as it
is about <span style="font-family: &quot;arial&quot; , &quot;helvetica&quot; , sans-serif;">Bernal</span>&#8217;s unrequited desire for his suspect, the homoerotics of detective work. Dickinson on the other
hand makes a point, repeatedly, of turning away from relationships, to the
point that she stops seeing outsiders at all. You wouldn&#8217;t know from this film
that two-thirds of her poetry was written before she was thirty-six, and that
her final two decades were much less about her writing than the decades before.
</span></div>
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<h2 class='date-header'><span>Wednesday, December 31, 2014</span></h2>

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<b><span style="color: #0d0d0d; font-family: &quot;Arial&quot;,&quot;sans-serif&quot;; font-size: 16.0pt; line-height: 200%; mso-style-textfill-fill-alpha: 100.0%; mso-style-textfill-fill-color: #0D0D0D; mso-style-textfill-fill-colortransforms: &quot;lumm=95000 lumo=5000&quot;; mso-style-textfill-fill-themecolor: text1; mso-themecolor: text1; mso-themetint: 242;"><a href="http://writing.upenn.edu/pennsound/x/Hills-Emmas-Dilemma.html"><span style="color: #0d0d0d; mso-style-textfill-fill-alpha: 100.0%; mso-style-textfill-fill-color: #0D0D0D; mso-style-textfill-fill-colortransforms: &quot;lumm=95000 lumo=5000&quot;; mso-style-textfill-fill-themecolor: text1; mso-themecolor: text1; mso-themetint: 242;">Henry</span></a>
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<i><a href="https://jacket2.org/commentary/emmas-dilemma"><span style="color: #0d0d0d; mso-style-textfill-fill-alpha: 100.0%; mso-style-textfill-fill-color: #0D0D0D; mso-style-textfill-fill-colortransforms: &quot;lumm=95000 lumo=5000&quot;; mso-style-textfill-fill-themecolor: text1; mso-themecolor: text1; mso-themetint: 242;">Emma&#8217;s Dilemma</span></a></i><br />
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featuring<br />
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<a href="http://nypost.com/2009/11/01/paradise-lost-3/"><span style="color: #0d0d0d; mso-style-textfill-fill-alpha: 100.0%; mso-style-textfill-fill-color: #0D0D0D; mso-style-textfill-fill-colortransforms: &quot;lumm=95000 lumo=5000&quot;; mso-style-textfill-fill-themecolor: text1; mso-themecolor: text1; mso-themetint: 242;">Emma</span></a>
<a href="http://greeninteger.blogspot.com/2009/01/irresolvable-pulls-of-life-on-death-of.html"><span style="color: #0d0d0d; mso-style-textfill-fill-alpha: 100.0%; mso-style-textfill-fill-color: #0D0D0D; mso-style-textfill-fill-colortransforms: &quot;lumm=95000 lumo=5000&quot;; mso-style-textfill-fill-themecolor: text1; mso-themecolor: text1; mso-themetint: 242;">Bee</span></a>
<a href="http://writing.upenn.edu/pepc/meaning/Bernstein/"><span style="color: #0d0d0d; mso-style-textfill-fill-alpha: 100.0%; mso-style-textfill-fill-color: #0D0D0D; mso-style-textfill-fill-colortransforms: &quot;lumm=95000 lumo=5000&quot;; mso-style-textfill-fill-themecolor: text1; mso-themecolor: text1; mso-themetint: 242;">Bernstein</span></a><br />
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<b><span style="color: #0d0d0d; font-family: &quot;Arial&quot;,&quot;sans-serif&quot;; font-size: 16.0pt; line-height: 115%; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin; mso-style-textfill-fill-alpha: 100.0%; mso-style-textfill-fill-color: #0D0D0D; mso-style-textfill-fill-colortransforms: &quot;lumm=95000 lumo=5000&quot;; mso-style-textfill-fill-themecolor: text1; mso-themecolor: text1; mso-themetint: 242;"><a href="http://www.esquire.com/features/75-most-influential/paul-thomas-anderson-1008"><span style="color: #0d0d0d; mso-style-textfill-fill-alpha: 100.0%; mso-style-textfill-fill-color: #0D0D0D; mso-style-textfill-fill-colortransforms: &quot;lumm=95000 lumo=5000&quot;; mso-style-textfill-fill-themecolor: text1; mso-themecolor: text1; mso-themetint: 242;">Paul</span></a>
<a href="http://en.wikipedia.org/wiki/Paul_Thomas_Anderson"><span style="color: #0d0d0d; mso-style-textfill-fill-alpha: 100.0%; mso-style-textfill-fill-color: #0D0D0D; mso-style-textfill-fill-colortransforms: &quot;lumm=95000 lumo=5000&quot;; mso-style-textfill-fill-themecolor: text1; mso-themecolor: text1; mso-themetint: 242;">Thomas</span></a>
<a href="http://www.imdb.com/name/nm0000759/bio"><span style="color: #0d0d0d; mso-style-textfill-fill-alpha: 100.0%; mso-style-textfill-fill-color: #0D0D0D; mso-style-textfill-fill-colortransforms: &quot;lumm=95000 lumo=5000&quot;; mso-style-textfill-fill-themecolor: text1; mso-themecolor: text1; mso-themetint: 242;">Anderson</span></a><br />
<br />
<br />
</span></b><span style="font-family: Arial, sans-serif; font-size: 16pt; line-height: 115%;"><a href="http://www.studio360.org/widgets/ondemand_player/#file=http%3A%2F%2Faudio.wnyc.org%2Fstudioblog%2Fstudioblog121814ptandersonfull.mp3"><b><span style="color: red;">talking about</span></b></a><br />
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</b></span><b><span style="color: #0d0d0d; font-family: &quot;Arial&quot;,&quot;sans-serif&quot;; font-size: 16.0pt; line-height: 115%; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin; mso-style-textfill-fill-alpha: 100.0%; mso-style-textfill-fill-color: #0D0D0D; mso-style-textfill-fill-colortransforms: &quot;lumm=95000 lumo=5000&quot;; mso-style-textfill-fill-themecolor: text1; mso-themecolor: text1; mso-themetint: 242;"><br />
<i><a href="http://en.wikipedia.org/wiki/Inherent_Vice"><span style="color: #0d0d0d; mso-style-textfill-fill-alpha: 100.0%; mso-style-textfill-fill-color: #0D0D0D; mso-style-textfill-fill-colortransforms: &quot;lumm=95000 lumo=5000&quot;; mso-style-textfill-fill-themecolor: text1; mso-themecolor: text1; mso-themetint: 242;">Inherent</span></a>
<a href="http://inherentvicemovie.com/"><span style="color: #0d0d0d; mso-style-textfill-fill-alpha: 100.0%; mso-style-textfill-fill-color: #0D0D0D; mso-style-textfill-fill-colortransforms: &quot;lumm=95000 lumo=5000&quot;; mso-style-textfill-fill-themecolor: text1; mso-themecolor: text1; mso-themetint: 242;">Vice</span></a><br />
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<h2 class='date-header'><span>Wednesday, November 12, 2014</span></h2>

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<b><span style="color: #0d0d0d; font-family: &quot;Arial&quot;,&quot;sans-serif&quot;; font-size: 16.0pt; line-height: 115%; mso-style-textfill-fill-alpha: 100.0%; mso-style-textfill-fill-color: #0D0D0D; mso-style-textfill-fill-colortransforms: &quot;lumm=95000 lumo=5000&quot;; mso-style-textfill-fill-themecolor: text1; mso-themecolor: text1; mso-themetint: 242;">The </span></b><b><span style="color: red; font-family: &quot;Arial&quot;,&quot;sans-serif&quot;; font-size: 16.0pt; line-height: 115%;"><a href="http://justinstephenson.com/The-Complete-Works-Film-Trailer"><span style="color: red;">trailer</span></a> </span></b><b><span style="color: #0d0d0d; font-family: &quot;Arial&quot;,&quot;sans-serif&quot;; font-size: 16.0pt; line-height: 115%; mso-style-textfill-fill-alpha: 100.0%; mso-style-textfill-fill-color: #0D0D0D; mso-style-textfill-fill-colortransforms: &quot;lumm=95000 lumo=5000&quot;; mso-style-textfill-fill-themecolor: text1; mso-themecolor: text1; mso-themetint: 242;">for<br />
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<i><a href="http://justinstephenson.com/The-Complete-Works-Film-Trailer"><span style="color: #0d0d0d; mso-style-textfill-fill-alpha: 100.0%; mso-style-textfill-fill-color: #0D0D0D; mso-style-textfill-fill-colortransforms: &quot;lumm=95000 lumo=5000&quot;; mso-style-textfill-fill-themecolor: text1; mso-themecolor: text1; mso-themetint: 242;">The
Complete Works</span></a><br />
<br />
<br />
</i><a href="http://vimeo.com/justinstephenson"><span style="color: #0d0d0d; mso-style-textfill-fill-alpha: 100.0%; mso-style-textfill-fill-color: #0D0D0D; mso-style-textfill-fill-colortransforms: &quot;lumm=95000 lumo=5000&quot;; mso-style-textfill-fill-themecolor: text1; mso-themecolor: text1; mso-themetint: 242;">Justin</span></a>
<a href="http://en.wikipedia.org/wiki/Justin_Stephenson"><span style="color: #0d0d0d; mso-style-textfill-fill-alpha: 100.0%; mso-style-textfill-fill-color: #0D0D0D; mso-style-textfill-fill-colortransforms: &quot;lumm=95000 lumo=5000&quot;; mso-style-textfill-fill-themecolor: text1; mso-themecolor: text1; mso-themetint: 242;">Stephenson&#8217;s</span></a><br />
<br />
<br />
forthcoming film<br />
<br />
<br />
on the work of<br />
<br />
<br />
<a href="http://en.wikipedia.org/wiki/Barrie_Phillip_Nichol"><span style="color: #0d0d0d; mso-style-textfill-fill-alpha: 100.0%; mso-style-textfill-fill-color: #0D0D0D; mso-style-textfill-fill-colortransforms: &quot;lumm=95000 lumo=5000&quot;; mso-style-textfill-fill-themecolor: text1; mso-themecolor: text1; mso-themetint: 242;">bpNichol</span></a><o:p></o:p></span></b></div>
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<a class='timestamp-link' href='https://writing.upenn.edu/epc/mirrors/ronsilliman.blogspot.com/2014/08/14_4.html' rel='bookmark' title='permanent link'><abbr class='published' itemprop='datePublished' title='2014-08-04T00:00:00-04:00'>Monday, August 04, 2014</abbr></a>
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<h2 class='date-header'><span>Monday, May 26, 2014</span></h2>

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<b>October</b><br /><br />Madrid<br />with Charles Bernstein & Susan Bee<br /><br />Barcelona<br /><div><br /><br />Saragossa?<br /><br /><b>November</b><br /><br />Rome?<div><br /></div><div><br /></div></div>
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<h2>Email</h2>
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<li>silliman AT gmail DOT com</li>
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<h2>Silliman Sites</h2>
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<li><a href='http://www.poets.org/poet.php/prmPID/1544'>Academy of American Poets</a></li>
<li><a href='http://epc.buffalo.edu/authors/silliman'>Electronic Poetry Center</a></li>
<li><a href='http://www.facebook.com/ron.silliman'>Facebook</a></li>
<li><a href='http://www.goodreads.com/search/search%3Fsearch_type%3Dbooks%26search%5Bquery%5D%3Dron%2Bsilliman'>GoodReads</a></li>
<li><a href='http://www.english.illinois.edu/maps/poets/s_z/silliman/silliman.htm'>Modern American Poetry</a></li>
<li><a href='http://writing.upenn.edu/pennsound/x/Silliman.php'>PennSound</a></li>
<li><a href='http://www.pcah.us/the-center/grants-awarded/grantees-1998-ron-silliman/'>Pew Fellowships in the Arts</a></li>
<li><a href='http://www.poetryfoundation.org/archive/poet.html?id=6323'>Poetry Foundation</a></li>
<li><a href='http://ronsillimanbibliography.blogspot.com/'>Silliman's Bibliography</a></li>
<li><a href='http://www.spdbooks.org/Search/Default.aspx?AuthorName=Ron+Silliman'>Small Press Distribution</a></li>
<li><a href='http://eclipsearchive.org/projects/TOTTELS/'>Tottel's</a></li>
<li><a href='http://twitter.com/ronsilliman'>Twitter</a></li>
<li><a href='http://www.ubu.com/contemp/silliman/index.html'>Ubuweb</a></li>
<li><a href='https://library.ucsd.edu/speccoll/findingaids/mss0075.html'>UC San Diego Archives</a></li>
<li><a href='http://en.wikipedia.org/wiki/Ron_Silliman'>Wikipedia</a></li>
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<h2 class='title'>Ketjak</h2>
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<a href="http://www.ucpress.edu/books/pages/10742.php">I: The Age of Huts<br /><br /></a>             <a href="http://www.ucpress.edu/books/pages/10742.php"><img src="https://writing.upenn.edu/epc/mirrors/ronsilliman.blogspot.com/images/lh6.googleusercontent.com/proxy/u_VsYLU9NS_tJXOrl6A4RM1Dne7QkuSslpBc0StgKSXXoIDStYoXqSwDo2tuxST00QD3ynVJH4yjAhcEzTWyM0F_RriCRx9yZdyygceY2wm-%3Ds0-d" /></a><br /><br /><br />II: Tjanting<br /><br /><a href="https://www.saltpublishing.com/products/tjanting-9781876857196"><img src="https://writing.upenn.edu/epc/mirrors/ronsilliman.blogspot.com/images/lh4.googleusercontent.com/proxy/efy1lIcVIKeKSdy_WUDIxV8WLN0OJmA3f7enQ2XDwxwt7Bh5ssfQQAkW_o4oG6FqrB1RGf7CX-Rw-VQ4u36RIuwSsCMxWjjHFDP4c7CbW2d_%3Ds0-d" /></a><br /><br /><br /><a href="http://www.uapress.ua.edu/product/Alphabet,1897.aspx">III: The Alphabet<br /><br /></a><a href="http://www.uapress.ua.edu/product/Alphabet,1897.aspx"><img id="ctl00_MainContent_ProductInfo1_ctl00_PrimaryImage_PrimaryImage" onclick="javascript:window.open(&#39;http://www.uapress.ua.edu//images/temp/212-1897-Product_LargeToMediumImage.jpeg&#39;, 1, &#39;resizable=1, width=500, height=700&#39;)" src="https://writing.upenn.edu/epc/mirrors/ronsilliman.blogspot.com/images/lh3.googleusercontent.com/proxy/OnaMjXm2h6XxneM04RgHx1Bkf2Wi9UE3a8c3o0NDvW5wXo7BK3MaM5VP9YfbEIpHYxAstTorwhNW4lhhkNuua5bDX7Ogr2UgZ1NMDDjeh-0bNnuo-WH-9pGHIR6lv-4-_UDHVNe36xB6%3Ds0-d" style="border: 1px solid Gray;" /></a><br /><div><br /></div><div>IV. from Universe</div><div><br /></div><div><br /></div><div><br /></div><div><br /></div>
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<h2 class='title'>Other Books in Print</h2>
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<span style="font-weight: bold;">MEMOIRS &amp; COLLABORATIONS</span><br /><a href="https://www.amazon.com/Leningrad-American-Writers-Soviet-Union/dp/1562790056">Leningrad</a><br /><a href="http://www.thegrandpiano.org/">The Grand Piano</a><br /><a href="https://www.saltpublishing.com/products/under-albany-9781844710515">Under Albany</a><br /><br /><span style="font-weight: bold;">CRITICISM</span><br /><a href="http://www.spdbooks.org/Producte/0937804207/the-new-sentence.aspx">The New Sentence</a><br /><br /><span style="font-weight: bold;">ANTHOLOGY</span><br /><a href="https://secure.touchnet.com/C22921_ustores/web/classic/product_detail.jsp?PRODUCTID=327&SINGLESTORE=true">In The American Tree</a><br /><br /><br /><br />
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<br /><img alt="" src="file%3A///Users/Lynn/Desktop/silliman2a.jpg" / /><img alt="" src="file%3A///Users/Lynn/Library/Caches/TemporaryItems/moz-screenshot.png" / /><span style="color: #990000; font-weight: bold;">RON SILLIMAN</span> has written and edited 40 books, and had his poetry and criticism translated into 16 languages. Silliman was a 2012 Kelly Writers House Fellow, the 2010 recipient of the Levinson Prize from the Poetry Foundation, a 2003 Literary Fellow of the National Endowment for the Arts, a 2002 Fellow of the Pennsylvania Arts Council, and a 1998 Pew Fellow in the Arts. Silliman has a plaque in the walk dedicated to poetry in his home town of Berkeley and a sculpture in the Transit Center of Bury, Lancaster, a part of the Irwell Sculpture Trail. He lives in Chester County, Pennsylvania and teaches at the University of Pennsylvania.<br /><br /><br /><br /><br /><br /><br />(c) 2002-2019 by Ron Silliman.
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